Feminist Horror part 2!

[00:00:00] Speaker A: So, hey, everyone, welcome back to Divatos, the podcast of Death Wish poetry magazine. This is, well, the second part of our discussion on feminist horror. I'm your host, King Loki, and with me are my co hosts, Adrian Luca and Erica. How you guys doing? [00:00:19] Speaker B: Peachy keen. [00:00:20] Speaker C: Hanging in there. [00:00:21] Speaker D: I'm lovely. [00:00:23] Speaker A: Yeah. Tech issues notwithstanding, I'm happy that we're here. As we know, horror has been having a moment. Feminist horror also has been having a moment. Last time we talked about agency objectification and toxic masculinity in movies like Companion, Run, Sweetheart Run, and others, obviously the Oscars just happened. Who here watched the Oscars? I did not. I don't care. [00:00:48] Speaker B: But I was all in it. It is the first time. We had about nine horror or horror adjacent films that were not only nominated, but won. It was magic. I like guys. Our K pop Demon Hunters won. Frankenstein won. Sinners won. Weapons won. And then there were some amazing short films. It was magic. [00:01:16] Speaker C: Sinners won Best actor. Which, like, when was the last time a horror movie won like best actor, best actress or best Picture? [00:01:26] Speaker B: I think it was Kathy Bates in Misery. [00:01:30] Speaker C: Yeah, like, it's been. [00:01:32] Speaker B: That wasn't best Actor, actually. She won supporting actress. [00:01:38] Speaker C: She won supporting actress for Misery? [00:01:41] Speaker B: Yes. Because apparently James Caan was what it was all about. [00:01:44] Speaker A: Like, okay. [00:01:47] Speaker B: He was just a prop. I'm sorry. [00:01:49] Speaker C: That's why we gotta have episodes like this. That's why. That's why we gotta talk about things like this. Because that is the biggest crime I've ever heard. [00:01:56] Speaker A: True, it was. [00:01:57] Speaker B: But at least Kathy Bates won. You usually get one horror movie nominated if it's a really epic and really good. I will say I am disappointed that Bring Her Back did not get anything. [00:02:12] Speaker A: Bring her. [00:02:12] Speaker B: It did get nominated, though. [00:02:14] Speaker A: Bring Her Back is one of the most horrific movies I've ever seen. Okay. This is why. This is why I don't watch the Oscars. Because it's not objective. It's just a bunch of old people who probably haven't seen the movies and rich people who haven't seen the movies don't care. Just vote for the things that they might have seen or heard about. Like, it's not, you know, it's a barometer of what is trending, I guess. But, you know, things like Bring Her Back or not. [00:02:40] Speaker B: Yeah, yeah, bring her back. [00:02:43] Speaker C: Dude. [00:02:45] Speaker B: She was the girl, like the foster mom and Bring Her Back was nominated against Amy Madigan for best supporting actress. So that could have gone, but like, dude, so many fucking horror movies were nominated. It doesn't happen. This has Never happened. But horror is elevated. And that brings us back to our conversation. [00:03:11] Speaker A: Right. [00:03:11] Speaker B: Because we're gonna talk about some elevated horror. [00:03:15] Speaker A: Yeah. So, you know, I did want to talk about feminism, right. In horror movies. And one that we didn't touch on last time that I think is really important is motherhood. Right, Adrian, I think you're the only person here who's a mother. [00:03:32] Speaker B: I am. [00:03:33] Speaker A: Yeah. And let's see. [00:03:38] Speaker B: So the Babadook. [00:03:40] Speaker A: Talk about the Babadook. [00:03:41] Speaker B: The Babadook. Tell us, Luca, you introduced this movie, [00:03:48] Speaker C: but you're the motherhood. The Babadook is a fantastic movie about a mother dealing with grief. She. [00:04:00] Speaker D: Her. [00:04:00] Speaker C: Her son, also dealing with grief, is experiencing some issues. He reads this horrifying children's book, and then the gay icon, the Babadook, harasses them while also being a metaphor for depression. [00:04:17] Speaker A: Very succinct. [00:04:17] Speaker B: The Babadook is crazy complicated, though. [00:04:22] Speaker C: Introduce the Babadook. [00:04:23] Speaker A: Very succinct, Luca. Very succinct. I mean, as a bunch of. Of weird, spooky queers, I think we all love the Babadook. [00:04:29] Speaker B: The Babadook is literally the Dr. Caligari. [00:04:35] Speaker D: Like, Babadook gives me flamboyant queer uncle vibes. And I love it because he is [00:04:41] Speaker B: your queer uncle and he's fabulous, but also, you don't want him. He's someone who takes you to ballroom, [00:04:48] Speaker D: and your parents tell you not to stay out too late with him on the weekends. [00:04:53] Speaker A: So the Babadook and the theme of motherhood, Adrian. [00:04:56] Speaker B: Okay, so. So this movie. This movie is hard because it does deal with grief and motherhood. She loses her husband because they get in a car accident when he's taking her to go have her baby. And I will tell you guys, this movie hits me on a lot of different levels because I've been both the insane kid who's hunting monsters, and he keeps telling his mom that he's gonna protect her, but he's so, like. He's so hard. And also, I've been there as a mother because my daughter. [00:05:38] Speaker A: Wait, wait. Time out, time out, time out. He's so hard. In what way? [00:05:44] Speaker B: He's so hard. He screams, he yells, he gets mad, and he punches people. He is a problem child, but also [00:05:55] Speaker C: sent home from school, and, like, he [00:05:57] Speaker B: gets suspended and then she takes him out of school, and then she over medicates. It's a whole thing. [00:06:04] Speaker C: There's a part towards the beginning of the movie where she has, like, a mom friend who is, like, her only friend, and. Oh, it's her sister. [00:06:13] Speaker B: It's her sister. [00:06:14] Speaker C: Yeah. And then, like, she's like, I don't want your son hanging out with my kid anymore because he's violent. [00:06:20] Speaker A: Oh, yeah. [00:06:21] Speaker C: So. [00:06:22] Speaker A: So. So being a mother is something that. It's an experience that, like, someone like me, like, I'm never gonna understand that, like, I might be a father someday. Right. But, like, now, let me ask, because I haven't seen it. She's a single mother. [00:06:38] Speaker B: Her husband was killed in a car accident when she was on her way to go deliver this. [00:06:42] Speaker A: So she is a single. So she's a single mother. [00:06:44] Speaker B: 100% a single mother. And this guy at the nursing home, because all she does is take care of people, and this guy wants to date her, and she uses him to kind of babysit her son at times because she needs a break because he's a lot. He's so hard. And being a mom of a really hard kid, like, dude, you don't sleep. And they deal with that in this movie. And that is one of the, like, horrific elements. There's horror in just not being able to sleep. And she has him diagnosed after he gets suspended, and she wants him to take sleeping meds that she makes him take, but also, it's implied that she's also taking them because she just falls asleep for forever and then wakes up and the world is crazy. It's a really, like, postpartum depression is a thing. And this film highlights that in a way. Like, the child is the monster through half of the film. [00:07:58] Speaker A: Okay. And that's a good place to. So first of all. Hi, Ca. I'm sorry. [00:08:02] Speaker E: Hello. I made it. Yeah, it's okay. It's literally okay. And then I wasn't paying attention. I had my headphones on. I was like, oh, I'll hear when everybody comes in. And then I was, like, helping my kids with stuff and completely lost track of time. Anyways, it's disturbing. Yeah, for sure. Disturbing. [00:08:21] Speaker B: It. [00:08:22] Speaker E: I think that movie really highlights. I don't know what's already been said about it, but that movie does really highlight. I mean, a couple of key themes. But for sure, like, it feels like that might be what you were just talking about a second ago. A. Like, just this theme around. Yes. But also, like, how. I guess women's mental health is sort of. It's hard to explain because it's like when something. When something starts going wrong, it's like, it's just blamed on mental health issues, but then there's not actually any real help or support. It's just like, oh, well, you're crazy. Here's some pills. Figure it out. And there's not really a whole lot else in place to, like, help her through that experience. [00:09:17] Speaker C: Yes. [00:09:17] Speaker A: Interesting. So talk about. So Adrian introduced the idea that the child is the monster for part of it. For part of it. [00:09:26] Speaker B: Until there's a real monster, and part of that is the mom. They switch places. The Babadook is. It's a real motherhood, like, trauma experience. I don't know what else to say about. [00:09:43] Speaker E: What I was gonna say is it kind of gives off vibes of, like, a poltergeist, where a poltergeist is an entity that is like an externalized embodiment of some internal issue that person or persons in a home are having. And then it gets, like, externalized into some weird embodied entity or being. And so, to me, the babadook almost came off sort of like that, where obviously, we have a lot of inner turmoil going on with this woman, you know, who is grieving and is haunted by that loss. And then, you know, it's almost as if the Babadook became a poltergeist of that. It became like a creature that embodied a lot of that pain, the loss [00:10:36] Speaker A: of her husband, the stress of having to deal with her child all on her own, and the child not being very helpful, as Adrian just explained, being kind of monstrous in his own right. And I. You know, look, I mean, I've never had children. You guys have had children. But I've been a child, and children are selfish. They're children, you know, they're. They can be monstrous. They can demand a lot on your life, and it can be a weight that holds you down because, like, you got to be home for baby. You got to wake up for baby. You have to spend all your money on baby. You can't bring certain people around because baby is home. You know, Go ahead. [00:11:13] Speaker B: It's a thing. I will say this movie, it has, like, this weird, like, role reversal where you have the kid as the monster, but then it's actually an external monster that possesses the mom. So then it's not the kid that's possessed, even though he seems like it at the beginning. It's. It's a lot. But then the kid saves the mom, and the mom and the kid kind of, like, make a pact to, like, deal with the creature that is inside of both of them. [00:11:55] Speaker A: So. Okay, okay. Okay. So that's cool. That's the plot. Right. But I think it's interesting how in movies like this, the motherhood itself is A problem? Not a problem, but it's. It's an experience that is confining and used to trap women. Right. Like at the end of Rosemary's Baby when she. When all is laid bare and she can just walk out, she sees the baby and he's perfect. He's her little baby. And there's no escape from the trap of domesticity that she finds herself in. Right. How does the babadook. The Babadook also uses this to a degree, right? [00:12:41] Speaker B: It does, yeah. [00:12:42] Speaker A: Where the babadook is partly a manifestation of her frustration with her child, and it seems like she sort of makes her peace with that and kind of accepts the burden of motherhood. Is that a correct reading of what I'm hearing? Okay, Ca. [00:13:00] Speaker B: What do you think? [00:13:01] Speaker A: Yeah. [00:13:01] Speaker E: Yeah. [00:13:01] Speaker A: I'm not a mom. [00:13:02] Speaker E: I would say. Yeah, I would say. I. I don't know that she ever resented her child or motherhood per se. I think what she resented was the. The reality. A reality that she didn't choose, which was single motherhood. She never signed up for that or planned for that or wanted that. But her husband died on the way to the hospital, literally the day she gave birth. So she lost her husband and gained her son in the same day. And those feelings, those experiences got so intricately interwoven that I think it really, like, messed her up in the head. [00:13:39] Speaker B: And. [00:13:39] Speaker E: And I think ultimately she very much loved her son and didn't resent being his mom. She just didn't know how the fuck to do it at all and didn't know how to do it while grieving and while holding on to this massive, massive loss that she experienced. And it feels as though, like, when we enter as viewers, she has gone through the motions, literally up to this point for the first six, seven years of this kid's life. And. Sorry, I had to. And, you know, it's. [00:14:11] Speaker C: It's. [00:14:12] Speaker E: That's kind of like where we enter the story. It's almost as if she's, like, been in this fog going through the motions of just keeping this kid alive. And she does love him there. I. You can sense that there's a great deal of love there and understanding in ways that only a mother could love and understand because her kid. Imagine you're being raised by a mother who is dealing with that level of emotional, like, grief and all of that. Obviously that kid's gonna have some. Some social. Emotional issues of his own. And that's why you see, you know, him kind of, like, acting out socially and things like that. And. And then it does. It continues to create that. That spiral of isolation for both of them. He's socially isolated, she's socially isolated. Then they become isolated together, and then they're in this just absolute maelstrom of pain and grief, and they're both being haunted by what's going on in their life and the circumstances around their relationship and their situation. I do appreciate the ending a lot because they, like, aid said, you know, the son ends up kind of like, saving his mom from this possession. She's sort of possessed by the Babadook. And then he, you know, encourages her to kind of like, get it out. Like, you light it in, you have to let it out. And then she, like, vomits out this, you know, nasty stuff. And. But it won't go away completely. And to me, that is, like. It was such a beautiful illustration of what it's like to live with mental illness and what it's like to live with grief where you can let it all the way in and it fully consumes you and rots you from the inside when. Or you can get it out of your physical body. But know that, like, you're still going to kind of have to walk with that always. Like, when you lose somebody very close to you, the way that grief feels, you can let it consume you and drown in it, or you can just accept that it's part of your life and you can just. And this, like, the way they're, like, feeding it worms at the end to kind of, like, keep it subdued. Um, you know, that's kind of, like, weird, but in the in, if we're using this as an analogy for, like, grief or mental illness, it's kind of like tending to it, acknowledging that it's there, acknowledging that the grief is there and needs some. Letting yourself some. Yeah, like, some amount of our attention. Like, it does need some of our emotional attention to kind of, like, keep it satiated. But we don't need to let it fully take over, like, who we are and destroy our lives. [00:16:51] Speaker A: Whatever doesn't kill you is gonna leave a scar. [00:16:54] Speaker E: Whatever doesn't kill you that's really needs to be fed worms once a week. [00:16:59] Speaker A: I really like that. That's where it goes. Like, the Babadook goes from being the spooky booky emperor to being a. Being kind of like a pet. And it's like, you know, like, it is. This is. This. This is part of me. This is my grief and my sorrow, and it's a part of me. Yeah, because, like, yeah, you can resent your child for waking you up in the middle of the night. Or you could be like, well, he's baby. You know, so that's cool. Okay. So that's how the Babadook handles the theme of motherhood and mental illness. Right. We. I think it's time, Luca, to talk about Run, sweetheart, run. Again, she is noted. She is notably a mother in this movie, which is a detail that can get lost because the theme of patriarchy is so prominent. [00:17:48] Speaker C: I think her being a mother is probably the most interesting part of that movie. I. I really hated that movie. [00:17:57] Speaker A: Here we go. [00:17:58] Speaker B: Really? [00:17:59] Speaker C: Yeah. I. I think part of it's on me for having an expectation of, like. I thought this was gonna be, like, you know, like, woman destroying the man who wronged her, and instead, it was like an hour and a man hunting a woman for sport. [00:18:17] Speaker A: Interesting. [00:18:19] Speaker C: Which I was just not into. [00:18:21] Speaker A: That is a reading. [00:18:24] Speaker C: I mean, you know, it got into the. Like, more of it towards the end, but, like, for most of the movie, I was like, I'm just really uncomfortable. [00:18:33] Speaker A: Yeah. Which it is. I think that's very fair. Right. Like, this is probably something I. I haven't experienced, but I'm sure all of the assigned female people. [00:18:45] Speaker D: That's kind of the point. [00:18:48] Speaker C: I. I do. And like I said, it's on me for having an expectation that it was gonna be a different story. [00:18:57] Speaker A: Well. [00:18:58] Speaker B: Well, I mean, it does read as a different story until you start it. That is. [00:19:04] Speaker D: I went into it with the expectation of what it is, but that's because Adrian gave me such a wonderful rundown. I watched it yesterday, and I love [00:19:15] Speaker E: had your expectations set. [00:19:18] Speaker A: That's hilarious. [00:19:19] Speaker B: You know, girl, like, when I love something, I really love it. And Run, Sweetheart, Run was the movie that made me want to start this conversation. [00:19:28] Speaker A: It does take. It does take her a minute to get her agency, which I think is. I think is part of the point. Right. But. But, like, I. I really like the fact that he wasn't just, you know, some awful man. I like that he was a specter. He was a manifestation. He is the. He is the. He is the avatar of the patriarchy. He could do whatever he wants. [00:19:48] Speaker C: The awful man. [00:19:50] Speaker B: He's toxic masculinity, like, taken to the nth degree. He is why we hate this. [00:19:59] Speaker D: Like, he's not just the bad man. He's the friends that don't intervene when they see something. He's the one who's making the shitty jokes and laughing about it behind people's backs. It's this whole [00:20:14] Speaker C: me about that movie, though, is that her friends do intervene. Right? I know. [00:20:20] Speaker B: And they get. And it's really sad, but they also didn't put that on film. [00:20:25] Speaker C: I, I actually, I really liked that throughout the movie there were so many people trying to help her. And I do think that does get into a lot of. And like I said, the reasons I hated this movie were not because it was a bad movie. It's because I really did not like it. [00:20:45] Speaker A: You started this. You started to say something about how her friends try to help. [00:20:48] Speaker B: Yeah. [00:20:49] Speaker C: So throughout the movie, like, she's being, you know, hunted and she seeks help multiple times and for the most part, most of those times she, she gets it somehow and that person is penalized or killed for helping her. I think most notably is when she goes to the house of the. The father of her child who is dating who used to be her close friend. And that friend is like, we are helping. We are in this. We are hiding you. We are taking care of you immediately. So while this, this monster is the manifestation of the patriarchy she's getting, like every, every person who has ever been like assaulted or abused, like, dream of, like, people believe her and are listening and he's just like repeatedly beating it down, which again is the point. But it made me stop so upset. [00:21:40] Speaker A: So, so it's not so much that what the movie was saying was invalid because to me it was like, yeah, you could stand. You could stand and resist an avalanche. That avalanche is still going to crush you. And that was the message of the movie that like this, this construction of whiteness, there's not a dichotomy of like feminism versus mate versus patriarchy. Right. It's just there's this big horrible thing and feminism helps everyone because it chips away at the toxicity of that. It wasn't so much that you opposed that or didn't see it, it's that you were just very upset by it. [00:22:15] Speaker C: Yeah, I mean, like, like again, like a lot of the issues were just like I was uncomfortable, which is often the point of a horror movie. I had just gone in expecting like good for her and I didn't get good for her until the very end. [00:22:31] Speaker A: Yeah, it was a feel bad movie up till the very end. That's. That's a fair assessment scene. [00:22:37] Speaker E: Yeah. [00:22:37] Speaker A: Until the very. [00:22:38] Speaker C: I was expecting to feel like I feel watching Jennifer's body. And I felt like I feel watching, I don't know much sadder movies. [00:22:48] Speaker B: It's okay. Run, Sweet Run is crazy. It did some like really respectful things that I've never seen done in a Horror movie, because I grew up on things like I spit on her grave, like, I'm old. [00:23:03] Speaker A: Guys. Well, the movie. The movie wasn't hiding the violence for your sake. It was. It was. It was hiding it for the man's sake, because he's like, you don't need to see my fun. This is what I live for. [00:23:13] Speaker B: You know, that's literally the point. Until she takes the camera at the end. [00:23:18] Speaker A: Well, yes, yes, yes. And it's like, look what's. Look what's gonna happen to our. Our big, strong man. Right? You know? [00:23:25] Speaker B: Well, there's also, like, Dan, you said before, it's allegorical and it 100% is. And there's. There's this whole thing about the rewritten version of the Bible, which, you know, it's gross. And then there's a crucifixion thing, and then it's the girls, and then they just end it and they take the camera. [00:23:56] Speaker A: Yeah. So. So motherhood. We talked about Run, sweetheart, run last time. What. [00:24:01] Speaker C: What. [00:24:01] Speaker A: What, if anything, does the movie have to say about her child, her connection to it, anything like that? Like, is. Is it. Is it. Is it a. A prominent theme in the movie? I don't know that it was. But again, I think it's first of [00:24:19] Speaker C: all, like, a big motivator throughout the film, you know, to get back to her daughter. But also, I think that, like, in the end, when she, you know, comes home, like, entirely coated in blood and goes straight to her daughter's, like, room, I. I really think that is a message about kind of. What's the way I want to word it, like, the burden of womanhood. It's the idea that so many. So many mothers, so many women, so many people realize they are having a daughter, and they realize that the violence that child is going to face. And I think almost her coming home all bloodied and going straight to her daughter was like this. This kind of a passing of the. The torch of, like, this world is going to try to kill you. But look, we can fight it. [00:25:18] Speaker A: Okay. I think. [00:25:20] Speaker E: Yeah, that's exactly what I was gonna say, is that speaks to the. The generational aspect of womanhood. Femaleness, or innocent, like, women and children. That just, like, the entire concept of how each generation is sort of, like, holding back the dam as best as we can and trying to, like, repair the systems to attempt at making this world a little bit safer for our next generation that we're bringing up. And I think that's what that ending scene, and just the theme in general illustrates is that we're doing our best to slay as many of the demons as we can, each generation, so that the next generation maybe has a few less of their own that they are gonna have to face and fight. [00:26:09] Speaker A: And you know what? Like, I. I think that's why, like, these types of movies appeal to me more than, like. So, like, one. That one that was really popular was. I couldn't stand this movie. A quiet place to raise kids, right? Where, you know, you have the most, like, cliche, like, white nuclear family imaginable. And the movie's about Daddy defeating all the monsters and giving his life to give them a chance. And the children are just, like, precious and fine and whatever, and, like, you know, like. Yeah, like. Like, obviously, like. Like, having kids and raising them is its own reward in many ways, and there's a lot there. But at the end of the day, it's not easy. And, like, you know, for a woman especially, like, the expectations and barriers to raising your kid on your own are really overwhelming. And I think that's why, like, these movies kind of addressing this in a more complex way is not just important, but more tactile in many ways. Right. Because, like, Run, Sweetheart, Run, I'm pretty sure was directed by a female. I don't. I'm not sure about the Babadook, but. The Babadook, yeah. Like, these movies really do address the complexity and challenges of being a mother. And that experience, which is a very singular experience. Like, yeah, single dad's not gonna have it easy, but a single mother, on top of being a woman, you also have a mother. That's why I like that Run, Sweetheart, Run has those different dimensions. Like, while the movie can be hard to watch, the movie can be frustrating. I think it does really hit on those different quadrants of feminine horror. Who wants to just. Pearl. [00:27:58] Speaker C: Yeah, it's part of the. It's part of the X trilogy. It's like the prequel. It's a. I'm trying to think of ways to describe it that I know. Giving everything away. It's about a girl living a very restricted life. A very. A very, like, traditional, like. And when I say traditional, I mean, like, borderline Amish traditional woman's life. And she dreams of being a star and will do very intense things to achieve that dream. [00:28:34] Speaker A: Mm. And there you go. [00:28:40] Speaker D: It sounds like a phenomenal film. It's on my watch list. [00:28:44] Speaker B: One of the best. Like, it rivals misery in that way. Like, there's this soliloquy where she's talking to her husband is gone in the War. And she's left alone with her parents, and she's going to become the serial killer in X. So it is a prequel, but there's this whole, like, she falls in love with film, and she takes that to be in love with this projectionist, and then she just wants to be a dancer, she wants to be a star, she wants to be in a Gene Kelly movie. [00:29:29] Speaker C: And if we know anything about X, we know how. Yeah. [00:29:34] Speaker B: Yeah. Luca, you're amazing. [00:29:37] Speaker A: So mental health. [00:29:39] Speaker E: Yeah. So I. Yeah, I would say, like, the deteriorating mental health is another huge theme of this one, specifically, like, losing your grip on reality over time. And, like, watching that, like, slowly just her experience, her, like, connection to her physical reality around her just becomes less and less coherent. You know what I mean? Like, she is just so living in this, like, fantasy realm in her head where she wants this other version of reality to be true so badly that she's, over time, slowly detaching from actual reality of, like, what her real life is. And. And she wants to escape this real. I mean, it's, you know, it's kind of a dismal reality. You know, her husband is away, her dreams are slipping away, her parents are ailing and not, you know, emotionally great parents, you know, and the whole situation is the backdrop of the whole thing. You know, it's just dismal. And so, of course, she doesn't want to, like, be in that reality. And. Yeah, I mean, do we want to talk about, like, the ending? Are we not there yet? Or is there more to explore before we get to that? [00:30:58] Speaker B: No, girl go, yeah. [00:31:01] Speaker E: I mean, like, that she finally breaks, you know, hits her breaking point, and then, you know, we. That, to me, the ending scene shows so much. Like, it's the perfect illustration that, like, here is a person who is fully, fully detached from their reality because she's playing out this, like, weird home life scenario with a bunch of corpses around the table, you know, and then her husband comes home, and she's like, hey, [00:31:31] Speaker B: honey, everything's super great and normal here. [00:31:34] Speaker E: And he's, of course, horrified. It's not funny, but it's, you know, it's the absurdity. [00:31:41] Speaker A: I mean, it made. It made me laugh. [00:31:45] Speaker E: It is kind of funny. Okay, good. I'm glad that you guys. Because I was like, am I crazy for thinking that's kind of funny? Yeah, it's. It's the morbidity. The morbidity. The absurdity of it. It's just like, oh, my God, you know, like, she's lost it. So. Yeah. [00:32:03] Speaker B: And the Fact that he still loves her is amazing. And then you start X and then it's like. [00:32:11] Speaker A: I just want to say that for me, the. The point that. That her mania kind of devolved into this, like, parody of domesticity was everything. [00:32:23] Speaker C: I think it's kind of beautiful that, like, I mean, beautiful as in beautiful [00:32:31] Speaker B: for me, morbidly romantic. [00:32:34] Speaker A: That, like, remember where you are. [00:32:35] Speaker C: Whole fantasy was to get away from this boring domestic life. And then she. [00:32:40] Speaker B: Yes. [00:32:41] Speaker C: Goes right back into it. [00:32:43] Speaker A: Well, because, like, at the end of the day, you go, you have your manic episode, and then what do you do? You come back home and be a woman. Right. Like, that's the trap of modernity and the patriarchy. [00:32:54] Speaker C: Well, she had. I was about to talk about how that movie relates to, like, my trans experience with conservative parents, but that's way more beautiful. [00:33:04] Speaker A: I mean, good. Oh, honey, share your thing. [00:33:07] Speaker B: Breakfast on Pluto episode. [00:33:12] Speaker C: Wait, did you just say breakfast? I love that movie. That's one of my favorites. [00:33:17] Speaker A: Oh, it's. [00:33:18] Speaker B: I own it on dvd, honey. [00:33:20] Speaker C: Okay. Anyway, I was basically just saying, like, I, you know, I am assigned female at birth, like, trans, grew up with conservative parents, and I feel like that movie perfectly encapsulates how it feels to be a queer person living in a conservative, like, home in a conservative area. Because, like, when I feel like when I was watching Pearl, I was like, God, I wish that was me a couple of times, you know? [00:33:52] Speaker A: Wow. [00:33:54] Speaker B: I saw an amazing drag show at the Horror Oddity Festival that was based on Pearl. It was the most beautiful thing I have ever seen. It was literally this drag show, and it was Pearl, and it was her in the barn, and then it was her. You know, the epic soliloquy that she gives. It's like. [00:34:22] Speaker C: Like how we joked that the Babadook is a gay icon. Pearl is like, such a gay icon. [00:34:28] Speaker B: No, she 100% is. [00:34:30] Speaker C: You have this girl who wants to break barriers so bad. She wants to break the foundation of her life, but at the end of the day, she wants what everyone else wants, which is, like, the queer experience. [00:34:44] Speaker A: Yes. [00:34:45] Speaker B: She wants safety. It's crazy. Like, she wants to, like, go out there and do things, and then her heart gets crushed and she's crushed, and then she realizes, oh, this is the best I can do. I better make the most of it. [00:35:04] Speaker A: Yeah. [00:35:05] Speaker C: She wants a life where she can be what she wants to be, but she also wants a family. [00:35:10] Speaker B: It's. [00:35:12] Speaker A: Yeah, yeah. [00:35:13] Speaker B: She wants safety. [00:35:15] Speaker C: Well, you want. [00:35:16] Speaker E: You. [00:35:17] Speaker A: You. You want the things that they're telling you to have. But on your terms. Right. And that isn't always something that we can do. [00:35:24] Speaker B: Red buttons. [00:35:27] Speaker C: We all got them. [00:35:28] Speaker A: Yeah. Well, I mean, that's probably a good place to go back to the substance. Right? Because, I mean, we're talking about mental health. And I mean, like, everything that happens to poor Demi Moore, that's not anything that needed to happen. Right. I mean, like, you know, she didn't lose her job because. [00:35:49] Speaker B: No, it is 100 not. [00:35:51] Speaker A: Yeah. She didn't lose her job because she was tired of it. She lost it. Or because she hurt her leg or something. She lost her job because she. Oh, did I aged out. She aged out. [00:36:02] Speaker D: She aged out of the industry. [00:36:04] Speaker A: Yeah. Like, I joke that she crossed the age of 30, because that's sometimes it, you know, for female actresses and exercise models. I don't know. Really good. Good. [00:36:16] Speaker C: It really is. Like, they. They did a really good job portraying that. She lost her job because of, like, normal beauty standards. [00:36:28] Speaker A: Yes. [00:36:29] Speaker C: Not normal. That's not the word I'm looking. [00:36:31] Speaker A: I know what you mean, though. [00:36:32] Speaker C: Like, the modern beauty standard. [00:36:35] Speaker B: Beauty standards. [00:36:37] Speaker A: She wasn't a little tiny, like, 22 thing. [00:36:42] Speaker C: You know, it reminds me a lot of in. In Black Swan when Winona Ryder is playing the retired ballerina at, like, the ripe old age of, like, 35. [00:36:52] Speaker B: Yeah. Oh, and it's the whole thing. [00:36:56] Speaker A: She was. Oh, she was in that. [00:36:57] Speaker D: Huh. [00:36:57] Speaker A: Interesting. [00:36:59] Speaker B: Hands in love with. He hasn't even seen Heather, so we're just gonna give him a pass. But he needs to see him. [00:37:08] Speaker A: Yeah, I'll watch it. I'll watch it. I'll watch it. [00:37:10] Speaker B: I just. Look at Luca's face. [00:37:12] Speaker A: I know. I know. I'm a failure as a man. [00:37:18] Speaker B: He has not seen Heather's. [00:37:19] Speaker C: Heather's made me gay. [00:37:21] Speaker A: Heather's made you. [00:37:22] Speaker D: Heather's made me gay. [00:37:24] Speaker A: That's a lie. [00:37:26] Speaker C: I watched Heather's and was like, actually, I'm a man. [00:37:35] Speaker B: Later. [00:37:37] Speaker A: All right, all right, all right. I'll move it up. I'll move it up. [00:37:39] Speaker D: Be right back. I'm going to run to the restroom. [00:37:42] Speaker A: Okay. Bio break. [00:37:43] Speaker B: I love you, Erica. [00:37:45] Speaker A: All right, I'll watch it. Look, I haven't seen a lot of movies, all right? And I was like, oh, it's hard to keep up. [00:37:51] Speaker E: There's so many good movies. Like, I can't see them all. [00:37:55] Speaker B: Are you literally telling me you have not seen Heather's? [00:37:59] Speaker E: Me? I've seen them. I've seen Heather's. But there's a lot of other movies that y' all have seen that I'M like, I'm sorry, guys, I haven't seen it. [00:38:06] Speaker B: No, no, I know. [00:38:07] Speaker A: Adrian's always yelling at me, like, oh, you haven't seen this movie? You haven't seen that movie. What's wrong with you? [00:38:11] Speaker C: You know, every time, like, the list drops for an episode, I'm like, I have never even heard of most of these movies. [00:38:17] Speaker B: I'm sorry. I'm sorry. I watched too much, guys. [00:38:21] Speaker C: I love it, though. All right, Horizons. [00:38:25] Speaker A: Yeah, yeah, I'll allow it. I'll allow it for now. No. So listen, back on Tracks, admit. [00:38:33] Speaker B: Oh, we have to wait for Erica. [00:38:35] Speaker E: Oh. [00:38:35] Speaker A: Because she saw it. Right, right. Good point. Okay. [00:38:37] Speaker B: No, she's in the bathroom. We have to wait for her. [00:38:40] Speaker A: But she saw. She saw the substance. [00:38:42] Speaker B: She did, yeah. [00:38:42] Speaker A: So we need her input. [00:38:44] Speaker B: I know. [00:38:47] Speaker A: Order, order. [00:38:48] Speaker E: Order in the court. [00:38:53] Speaker A: Yeah, so I was gone for two [00:38:56] Speaker D: seconds and I heard yelling. [00:38:58] Speaker B: Yeah, no, we were just being. It was fine. [00:39:05] Speaker C: Yorick. [00:39:06] Speaker B: I knew him. [00:39:07] Speaker A: All right, so we did talk about. We did talk about the substance, and it's disgusting food last time, but it's worth talking about it again because we're talking about mental health. Obviously, motherhood's not an aspect of this movie. Right. But mental health is. This movie is all about mental health and body image. Right. [00:39:26] Speaker C: Body horror of eating disorders, I feel like, was the theme of the movie. Right, right. [00:39:31] Speaker B: Thank you. [00:39:32] Speaker A: We. We brought it up last time. We brought it up last time to talk about objectification and agency. Right. Which are massive themes. But body horror, body dysmorphia, like, go like whoever wants to. I mean, you know, [00:39:49] Speaker D: that was definitely, like, a central point of the movie. And it is not surprising, but also very deeply intriguing to see how these sorts of issues can affect people kind of en masse. Because it's not an isolated experience. No, it's almost like a rite of passage into womanhood to, like, hate your body or to be hyper focused on things that you can't necessarily change because there's trends going around saying that, like, hip dips are in, or. No, your hip dips are kind of gross. Why do you have them do these exercises to fix it, and that's not [00:40:30] Speaker B: how your body works. [00:40:31] Speaker A: What. What are hip dips? [00:40:34] Speaker E: Don't worry about it. [00:40:35] Speaker D: Hip dips. [00:40:38] Speaker E: It's literally the shape. Some people. Some people's hips. Yeah. Have like an. An indent where their hips are, and they call them hipies. [00:40:47] Speaker C: You have. [00:40:49] Speaker B: It's. [00:40:49] Speaker D: Instead of being like a curvature like this, there's slight indentation sometimes, and it's not a Problem. [00:40:57] Speaker B: That's just how people's bodies are. [00:40:58] Speaker A: Okay, but the point of even bringing that up is it's. It's the highlight how in depth our criticism of the female form is. Right, okay. [00:41:07] Speaker B: Yeah. [00:41:08] Speaker A: So, like, here, I really want to zero in on this, though, because, like. Okay, like, a common rebuttal is, well, men have body issues, too. And it's like, yeah, but we can be fat. Like, we can be. We can have different body types. Adrian, you want to interject? What do you want to say? [00:41:24] Speaker B: I have known a couple dudes because, you know, theater classes that developed really bad eating disorders. It's not just female. [00:41:38] Speaker A: I know, I know, I know. I'm making an absolute statement. It's hyperbolic. I'm just saying that in general, like, I. I talk about how I'm out of shape. I am out of shape, but it doesn't cause me, like, dysmorphia or dysphoria or anything like that, because in society, no one treats me differently because I'm an older. I'm slightly older, and. But if I was a woman. Oh, you're. You're worthless. Like, you're fat. Oh, fuck off. Fuck off. You know, nobody wants to date you. [00:42:08] Speaker D: Like, the idea of a mommy makeover being a thing, but there's not an equivalent for, like, having a dad bod. [00:42:16] Speaker A: Right, right, right, right. Exactly. That's what I'm saying. Adrian, you want to say something, dude? [00:42:20] Speaker B: I've lost a lot of weight in the last couple months, and I've actually been happy about it because I'm like, oh, maybe this is, like, a blessing in disguise. And I will tell you, a lot of women have complimented me, and it's just because I've been sick, and that's kind of fucked up. [00:42:44] Speaker D: That's exactly what you mean, Adrienne. [00:42:46] Speaker A: Yeah, see, Literally. [00:42:47] Speaker E: Do you see how we all jumped in? Because, like, that is a fucking universal experience in and of itself. I went through a period of time at the end of 2023. I was very, very unwell. I was really unwell. My hair was falling out in literal handfuls. I dropped, like, 20 pounds in two months, which is so not healthy. And yet that positive. Yeah. That gained me positive attention from. From the outside world. Oh, my God. [00:43:19] Speaker C: Wow. [00:43:20] Speaker E: Like, how'd you lose so much weight? And I was like, I'm dying. That's how I lost weight, because my body is killing itself from the inside out. This isn't a good thing. [00:43:32] Speaker D: It's not. [00:43:33] Speaker B: It's not. It's not. I've lost 69 pounds in three months. [00:43:37] Speaker E: Guys. [00:43:38] Speaker B: It's stupid. And all I get are compliments. [00:43:42] Speaker D: Yeah. I went through a similar ordeal. Oh, I'm sorry. [00:43:46] Speaker C: No, please go. [00:43:47] Speaker B: Please. [00:43:48] Speaker D: I went through a similar ordeal to ca. Like the tail end of 2023. I was living, like, in a very high stress environment. My dad passed. I was having issues with my schooling. All sorts of things just happened at once and my body kind of shut down and I lost. I was like, the healthiest, I would say. I was significantly heavier and my body was, like, doing the things it needed to do to survive. [00:44:16] Speaker A: Yeah. [00:44:17] Speaker D: And like, thrive. I was a little over 200 pounds. I lost half of my body weight, like 115 pounds in eight months. [00:44:27] Speaker B: Oh, my gosh, bro, I feel you. [00:44:30] Speaker A: Oh, my gosh. [00:44:31] Speaker D: And like, I would see old friends or family members and they'd be like, oh, you finally lost the weight. You look so good. What are you doing? And it's like, I'm dying. I can't eat. [00:44:41] Speaker C: Eat. [00:44:41] Speaker D: It hurts to move. I'm inflamed all the time. I don't feel good. Don't tell me I look good. [00:44:48] Speaker B: Yeah, it disgusting. Like, my body doesn't even feel like mine anymore. Like, it's crazy. And there's been all of this stuff and it's like, oh, you look great. Oh, this is going to be healthier for you. [00:45:03] Speaker C: The standard on women's bodies and I mean, like I said, and men's bodies and being trans inclusive, like my, My own body. [00:45:11] Speaker A: Right, right, right, right. [00:45:13] Speaker C: It's so severe. Like, even look at what just happened with the premiere of Wicked for Good. I know all the, all the commentary on Cynthia Erivo and Ariana Grande's appearances, but like I said, eating disorders are body horror in their own. I, I went to eating disorder treatment about 10 years ago. I've since, like, lost friends to their EDs. My, we almost lost my little sister to an eating disorder many years ago. And when I tell you, like, she was. First of all, she was 12 years old and she's doing much better now. But, like, you know, when it comes to this, you, you have these people complimenting people who are. [00:45:59] Speaker A: Yeah. [00:46:00] Speaker C: Who are very, very ill and not okay. It is still not enough for the dise disease. And it becomes this obsession with looking like, you know, looking like this celebrity now looking different than this celebrity now being thinner and thinner and thinner until, you know your, Your, your body is literally shutting down. Hair is being lost. Like, my sister developed heart issues. Both my friends who died from their eating disorders died of heart attacks under the age of 30. [00:46:35] Speaker B: Because it. [00:46:36] Speaker C: Yeah, it's still not enough. Like, it's never enough for your body. And I think the substance really, really hardcore. [00:46:46] Speaker A: Have you guys seen Cool Air? You have seen it, Adrian. [00:46:51] Speaker B: I'm old. Of course I've seen Cool Air. [00:46:54] Speaker A: Yeah, yeah. She joins a cult, and it's all about, like, accepting yourself. And they're making her, like, not eat and isolate herself and look in the mirror. Like, there's this horrific. The movie just has this. This horror. I recommend it, by the way. It's fucking crazy. But at the end of it, she looks at herself in the mirror and there's nothing left of her. Like, she's scrawny, her face is haggard, but she's. She's finally done it. She's lost the weight. And she smiles and goes, I accept you now. And hard cuts to credits. Yes. [00:47:25] Speaker B: It's the same thing for Rocky Dream. The mother wants to lose the weight, dress like. That is honestly the most horrific movie I've ever seen. [00:47:36] Speaker A: Yeah. Yeah. [00:47:37] Speaker E: I've only seen a really traumatized movie. [00:47:42] Speaker A: Yeah, I. I couldn't handle the drug stuff. That's the movie Requiem for a Dream. [00:47:49] Speaker C: That movie? [00:47:50] Speaker A: Yeah. That's another episode. Yeah. [00:47:54] Speaker D: The first time I saw that movie, I was like, eight. It changed my brain structure. It is something I have seen multiple times since because my parents don't seem to understand that ratings aren't just a suggestion. [00:48:11] Speaker B: Okay. I took my daughter to see the Bride this weekend. It's the first R rated movie I've let her watch. [00:48:18] Speaker A: Yep. [00:48:19] Speaker B: She cried because she was like, mom. So many times as a female, I don't feel like I have a voice. And it happens to all of my friends. And I've never seen a film that actually, like, said the things that I feel in this, like, anger bubble in my stomach. Like, girl, I fucking won. [00:48:39] Speaker A: By the way, who here has seen the Bride besides me and Adrian? [00:48:43] Speaker C: Not yet. [00:48:44] Speaker A: All right. [00:48:45] Speaker C: All right. [00:48:45] Speaker A: Because I'm trying. We're gonna cover it on Monster Fangs, but I really liked it. I think it can probably carry its own episode, but. All right. Well, that was traumatizing. [00:48:57] Speaker B: Yeah. [00:48:58] Speaker A: I'm sorry to make you guys dig into your experiences for that. [00:49:03] Speaker B: No, we will give a trauma warning at. [00:49:06] Speaker E: Yeah, yeah, that's a good idea. But I. I also think that, like, isn't that the point. Point of art is that it should make you feel something. And people who can relate to certain themes or aspects of these experiences, it. It gives a voice and a visualization to some of those experiences, you know, [00:49:30] Speaker A: this is why, this is why I'm a champion for Antichrist, even though it's a really horrific movie. Good job. [00:49:38] Speaker E: Done. [00:49:38] Speaker A: Also, you did, you did scare me, I'll give you that. You made me free. You, you freaked me out. That's a hard thing to do. The same goes for the Human Centipede, A movie I don't really want to watch again, you know, but like, hey, it did its job. It, it me up, you know, it was horrific. Teresa is another one, another scary movie. Really scary. I don't want my organs stolen, you [00:49:58] Speaker C: know, And I mean, I think, yeah, [00:50:01] Speaker D: keeping those might be a good idea. [00:50:02] Speaker C: There's no way we're not going to get into some really rough topics. I mean, horror as a genre has been very feminist for a long time and also is very violent towards women a lot of the time. And we're not going to have an episode with a lot of assigned female at birth. I don't presume to know anyone's genders. I haven't met most of you before, but like assigned female at birth people without having to dig into some ugly stuff. [00:50:29] Speaker B: True, dude. You are who you choose to be and you're awesome and beautiful. Like, who, like, who cares what someone is assigned as also? You're right, Luca. Horror is been elevating for a long time, but it's gotten to this amazing point where, I mean, we got like 10 horror films nominated for Academy Awards. I'm just saying. [00:50:58] Speaker A: I mean, I only bring up Lucas, like, you know, assigned female at birth. Like, gender, not gender, sex. Sex. Because I want to make it very clear that this is Luca's shared experience also. [00:51:10] Speaker C: Yeah, no, I'm, I'm very open about the fact that I'm trans. I refer to myself as a former woman a lot because like, like, make no mistake, I, I am a man. Like, you know, I am a man full through and through. [00:51:25] Speaker A: Yeah. [00:51:25] Speaker C: That doesn't mean that society didn't view me as a girl for fucking 28 years and still often does continue to perceive me as a girl. Yeah, that doesn't. [00:51:36] Speaker B: Because they're stupid. Yeah. [00:51:38] Speaker C: That doesn't exempt me from the patriarchy, like. [00:51:41] Speaker A: No. [00:51:42] Speaker C: You know, I, I, I still have a lot of woman experiences just, you know, by nature of being born with a uterus. [00:51:50] Speaker A: Right. [00:51:51] Speaker C: As I call it my deuterous. But deuterous, that's a me thing. [00:51:54] Speaker A: The, the, the, the patriarchy affects everyone. I mean, I'm someone who likes to paint his nails and wear makeup, and that's That'll get me called a. That'll get me thrown in jail when they start rounding up the queers. You know what I mean? Like, yeah, yeah. [00:52:06] Speaker C: Will we be sillies? [00:52:08] Speaker B: Hey, we're getting burned first thing. We're getting burned first. [00:52:12] Speaker E: Yeah. Honestly, though, the concentration camps are going to be, like, lit. We're going to have, like, drag brunches. We're going to have, like, girl, I'm telling you, it's going to be fucking fun. I'm sorry. Like, we're such an unserious generation. We're so unserious. If they throw us all in a concentration camp together, we're gonna be like, bet. Okay, well, we're gonna have some fun while we're in here. Like, you. [00:52:36] Speaker B: Yes. Can't take my joy till the wheels fall off. [00:52:42] Speaker E: Well, I'm sure I've been burned in every lifetime I've ever had on this planet, so what would. Why would it be different this time? [00:52:50] Speaker C: You know? [00:52:53] Speaker A: Yeah, fair enough. [00:52:54] Speaker C: I love that we went from this, like, nearly tearful discussion about the substance and body horror to joking about being in the same concert. [00:53:02] Speaker B: I was literally. [00:53:03] Speaker A: I mean, the podcast goes on till question marks, right? You know, like, we'll just do it live at that point. [00:53:08] Speaker B: Thank you for putting up with us because, like, literally, we hit. All the girls had to say, no, [00:53:14] Speaker A: no, no, no, no. This is the kind of experience I was hoping for. And this is why I can't do this on my own, because, you know, I'm gonna watch this stuff and be like, well, that sucks for women. Like, you know what I mean? Like, I could sit and analyze it in a clinical way, but, like, I don't have the lived experience, and I'm glad I have so many women on this show. And. [00:53:32] Speaker C: And. [00:53:32] Speaker A: And Luca also. You know, Luca, here's the. Here's the crazy thing. Like, if. If you hadn't told me you were trans, I would have never guessed, because I would have just thought you were a guy. Like, I don't know. I mean, you are a guy, but not a trans guy, you know, like, so whatever. [00:53:47] Speaker B: But you are a dude, so it's fine. [00:53:49] Speaker A: Well, yeah, I'm not the only guy now. It's me, you, and Mike, you know? [00:53:53] Speaker C: Yeah, it's. [00:53:54] Speaker E: It's. [00:53:54] Speaker C: I still remember when you asked to have me as, like, a co host, and you were like, I'm so glad to have more guys on here. [00:54:01] Speaker A: Yeah, [00:54:04] Speaker B: me and Erica and Ca and Brittany. And he was, like, so outnumbered. [00:54:09] Speaker A: I mean, I don't care. You guys are Cool. I don't mind. I don't care about your genders. But it matters. What? When we're having a discussion like this where it's like, okay, yeah, Feminine star. So. All right, that being said, I think we've covered all the quadrants. I don't think we've covered all the movies. [00:54:26] Speaker B: We did not. [00:54:27] Speaker A: So is there anything anyone wants to bring up before we go into our wrap up? [00:54:33] Speaker B: Probably not. [00:54:34] Speaker C: I. I know that. That Pearl we talked about X a little bit with. You know how Pearl feeds into X. Yeah. God. Is X a powerful movie about sex work? That's all I wanted to say. [00:54:46] Speaker B: My God, it's probably the best. It's like what Texas Chainsaw Massacre wanted to be. [00:54:53] Speaker C: Well, okay, well, we don't need to bring my. My darling Texas Chainsaw Massacre. [00:54:57] Speaker B: Oh, I know, but also, like. But it was catching strays right now, like, what? Yeah, there's no need. [00:55:07] Speaker A: There's not a bad movie. What are you talking about? Okay, time the out. Texas Chainsaw Massacre is not a movie that's first and foremost about gender norms. It's a movie about hillbillies and the horrors of rural America. Like, I would. [00:55:23] Speaker C: I would argue [00:55:25] Speaker B: in Texas. [00:55:28] Speaker C: I would. I would first of all argue it has a lot to do with gender. The final girl. But also X is about sex work. It is about making pornography. [00:55:39] Speaker A: Yeah. [00:55:39] Speaker C: They are not making pornography in Texas Chainsaw. [00:55:42] Speaker A: Well, [00:55:44] Speaker C: I mean, because they are there. [00:55:46] Speaker A: You know, you say that's not porn [00:55:49] Speaker C: because they are making porn. [00:55:51] Speaker A: When grandpa. [00:55:51] Speaker E: It's like grindhouse, when Pepaw is trying [00:55:54] Speaker A: to hold the hammer and he keeps dropping it. Like, that's kind of pornographic, right? I mean, did you know that. [00:55:59] Speaker E: That. [00:55:59] Speaker C: That the actress was actually hit in the head with the hammer while filming? [00:56:03] Speaker B: That the. [00:56:05] Speaker C: The. [00:56:06] Speaker A: It was a different era. [00:56:07] Speaker C: Should be its own horror movie because the way those actors were treated was gross. [00:56:10] Speaker B: It is actually. They just released a documentary and David has Malkians in it. I don't even like him. [00:56:19] Speaker A: All right, all right. [00:56:20] Speaker E: Oh, my God. [00:56:20] Speaker D: Have you ever seen The Dead Meat YouTube channel you had mentioned, like, behind the scenes and, like, gave off a cursed set sort of vibe. They have a segment called Dead Meat Presents and they have a whole series where they just talk about creepy movies and mishaps on set and things that happened after production wrapped up. Production nightmares, I think it's called. [00:56:45] Speaker B: Erica, I need you to send this to me. This is everything I've ever needed in my life. [00:56:50] Speaker C: I don't know what I'm doing after this. [00:56:56] Speaker A: All right, so for next time. Well, actually, let's do a wrap up and then we'll talk about part three. Yeah, so on that note, that's Feminist Horror part two. You know, do check out these movies. I don't know. List. List is below. Or something. [00:57:15] Speaker B: Or something. [00:57:16] Speaker A: Or something. Yeah, yeah, Watch. Watch the first episode. It's. It's in the playlist or something. I'm King Loki. Read my [email protected]. i have a channel called Spiders from Mars where I talk about comic books. Death Wish, Poetry magazine, Ca. Do you want to. Do you want to plug your shop [00:57:35] Speaker E: so you can find me on socials as well? At Venomcelium, I always have random new things going on in my life, so really, you just have to follow my Instagram to, like, know what I'm doing in my life, because it's something new. I reinvent myself a lot. I have a new podcast coming out soon too, but I'm not ready to talk about it yet. So that's just a little mini teaser, but when it launches, y' all will be the first to know for sure. [00:57:58] Speaker A: Lighting. Wow. [00:57:59] Speaker B: Cool. Erica. [00:58:04] Speaker A: Yeah, I was gonna say it. [00:58:06] Speaker E: I write. [00:58:06] Speaker D: I've been trying to get into doing so more consistently. If you like spooky poetry, dark poetry, you can find me at Monstrum Exemplum on Instagram. [00:58:15] Speaker A: There you go. There you go, Luca. Anything to plug? You want to plug your book? [00:58:21] Speaker C: Yeah, I'm Luca. I write poetry. Sometimes it's scary. You can find me at Adambaum Icarus on Instagram and also Tumblr. And I have a book called With Endless poetry inspired by 28 days later. So if you want to read poems inspired by 28 Days later, it does not get into the sequel movies, and I feel like I now need to [00:58:45] Speaker B: explain that to people. [00:58:47] Speaker C: But poems inspired by 28 days later, you can find that on my, like, Ko Fi K O dash F I slash Luka with a K, L U K A E R A U, S, Q U I N. It's below. Oh, good. [00:59:01] Speaker B: It's below. [00:59:02] Speaker C: Even better. I just called my last name for no reason. [00:59:05] Speaker A: You're silly. All right. Anything else, Luca? Nope. All right, Adrian. [00:59:12] Speaker B: I'm Adrian. You guys are awesome. I have nothing to promote right now other than Goblin, Crypt Magazine, the Horror Film Art Society. [00:59:25] Speaker A: There you go. There you go. There you have it. Yeah. So look, subgenres exist for a reason. Feminist horror is a prominent one and an important one. And I hope that you watch some of these movies, and if you have any problems with any of the things we said. Leave the comments so I can respond to them and take a swing at you. That's about it. Let me think. Yeah, that's it. Write poetry. Make art. Love your demons. Ave Satanus. Sam, It.